Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from China and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1975.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Sao Paulo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Cabaret Voltaire to the funk kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Loose Ends. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
DNA,
K-Klass,
Major Organ And The Adding Machine,
Kayak,
Frankie Knuckles,
Charles Mingus,
Albert Ayler,
Camouflage,
Oblivians,
Interpol,
Kool Moe Dee,
Underground Resistance,
Quadrant,
Henry Cow,
Whodini,
The Tremeloes,
The Golliwogs,
Liliput,
The Victims,
Gang of Four,
Kango’s Stein Massive,
Smog,
X-Ray Spex,
Khruangbin,
Terror Squad Feat. Camron,
Crime,
Bang on a Can All-Stars,
Fatback Band,
Boredoms,
R.M.O.,
Hasil Adkins,
Harpers Bizarre,
Rhythm & Sound,
Brand Nubian,
Cabaret Voltaire,
The Men They Couldn't Hang,
Soft Cell,
Supertramp,
Joe Smooth,
Man Eating Sloth,
Andrew Hill,
The Mighty Diamonds,
Gil Scott-Heron and Jamie xx,
The Motions,
Duran Duran,
Fluxion,
Todd Terry,
Das Ding,
Parry Music,
Masters at Work,
the Bar-Kays,
DeepChord presents Echospace,
Arthur Verocai,
Iggy Pop,
Johnny Clarke,
Livin' Joy,
Larry & the Blue Notes,
Bizarre Inc.,
Eli Mardock,
Eric Dolphy,
Sun Ra,
the Association,
Visage, Visage, Visage, Visage.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.